Collected Works of Algernon Blackwood

by Algernon Blackwood

  “Show us, show us!” they cried, roaring with delighted laughter.

  “It’s a question of belief,” he repeated, his tongue appearing and disappearing like a pointed shadow. “It’s in the heart; the power of the air gets into your whole being. Why should I show you? Why should I ask my deity to persuade your scoffing little minds by any miracle? For it is deity, I tell you, and nothing else. I know it. Follow one idea like that, as I follow my bird idea — follow it with the impetus and undeviating concentration of a projectile — and you arrive at power. You know deity — the bird idea of deity, that is. They knew that. The old Egyptians knew it.”

  “Oh, show us, show us!” they shouted impatiently, wearied of his nonsense-talk. “Get up and fly! Levitate yourself, as they did! Become a star!”

  Binovitch turned suddenly very pale, and an odd light shone in his keen brown eyes. He rose slowly from the edge of the chair where he was perched. Something about him changed. There was silence instantly.

  “I will show you,” he said calmly, to their intense amazement; “not to convince your disbelief, but to prove it to myself. For the powers of the air are with me here. I believe. And Horus, great falcon-headed symbol, is my patron god.”

  The suppressed energy in his voice and manner was indescribable. There was a sense of lifting, upheaving power about him. He raised his arms; his face turned upward; he inflated his lungs with a deep, long breath, and his voice broke into a kind of singing cry, half prayer, half chant:

  “O Horus,

  Bright-eyed deity of wind,

  Feather my soul

  Though earth’s thick air,

  To know thy awful swiftness — —”

  The Russian is untranslatable. The phrase means, “Give my life wings.”

  He broke off suddenly. He climbed lightly and swiftly upon the nearest table — it was in a deserted card-room, after a game in which he had lost more pounds than there are days in the year — and leaped into the air. He hovered a second, spread his arms and legs in space, appeared to float a moment, then buckled, rushed down and forward, and dropped in a heap upon the floor, while every one roared with laughter.

  But the laughter died out quickly, for there was something in his wild performance that was peculiar and unusual. It was uncanny, not quite natural. His body had seemed, as with Mordkin and Nijinski, literally to hang upon the air a moment. For a second he gave the distressing impression of overcoming gravity. There was a touch in it of that faint horror which appals by its very vagueness. He picked himself up unhurt, and his face was as grave as a portrait in the academy, but with a new expression in it that everybody noticed with this strange, half-shocked amazement. And it was this expression that extinguished the claps of laughter as wind that takes away the sound of bells. Like many ugly men, he was an inimitable actor, and his facial repertory was endless and incredible. But this was neither acting nor clever manipulation of expressive features. There was something in his curious Russian physiognomy that made the heart beat slower. And that was why the laughter died away so suddenly.

  “You ought to have flown farther,” cried some one. It expressed what all had felt.

  “Icarus didn’t drink champagne,” another replied, with a laugh; but nobody laughed with him.

  “You went too near to Vera,” said Palazov, “and passion melted the wax.” But his face twitched oddly as he said it. There was something he did not understand, and so heartily disliked.

  The strange expression on the features deepened. It was arresting in a disagreeable, almost in a horrible, way. The talk stopped dead; all stared; there was a feeling of dismay in everybody’s heart, yet unexplained. Some lowered their eyes, or else looked stupidly elsewhere; but the women of the party felt a kind of fascination. Vera, in particular, could not move her sight away. The joking reference to his passionate admiration for her passed unnoticed. There was a general and individual sense of shock. And a chorus of whispers rose instantly:

  “Look at Binovitch! What’s happened to his face?”

  “He’s changed — he’s changing!”

  “God! Why he looks like a — bird!”

  But no one laughed. Instead, they chose the names of birds — hawk, eagle, even owl. The figure of a man leaning against the edge of the door, watching them closely, they did not notice. He had been passing down the corridor, had looked in unobserved, and then had paused. He had seen the whole performance. He watched Binovitch narrowly, now with calm, discerning eyes. It was Dr Plitzinger, the great psychiatrist.

  For Binovitch had picked himself up from the floor in a way that was oddly self-possessed, and precluded the least possibility of the ludicrous. He looked neither foolish nor abashed. He looked surprised, but also he looked half angry and half frightened. As some one had said, he “ought to have flown farther.” That was the incredible impression his acrobatics had produced — incredible, yet somehow actual. This uncanny idea prevailed, as at a séance where nothing genuine is expected to happen, and something genuine, after all, does happen. There was no pretence in this: Binovitch had flown.

  And now he stood there, white in the face — with terror and with anger white. He looked extraordinary, this little, neurasthenic Russian, but he looked at the same time half terrific. Another thing, not commonly experienced by men, was in him, breaking out of him, affecting directly the minds of his companions. His mouth opened; blood and fury shone in his blazing eyes; his tongue shot out like an ant-eater’s, though even in that the comic had no place. His arms were spread like flapping wings, and his voice rose dreadfully:

  “He failed me, he failed me!” he tried to bellow. “Horus, my falcon-headed deity, my power of the air, deserted me! Hell take him! Hell burn his wings and blast his piercing sight! Hell scorch him into dust for his false prophecies! I curse him — I curse Horus!”

  The voice that should have roared across the silent room emitted, instead, this high-pitched, bird-like scream. The added touch of sound, the reality it lent, was ghastly. Yet it was marvellously done and acted. The entire thing was a bit of instantaneous inspiration — his voice, his words, his gestures, his whole wild appearance. Only — here was the reality that caused the sense of shock — the expression on his altered features was genuine. That was not assumed. There was something new and alien in him, something cold and difficult to human life, something alert and swift and cruel, of another element than earth. A strange, rapacious grandeur had leaped upon the struggling features. The face looked hawk-like.

  And he came forward suddenly and sharply toward Vera, whose fixed, staring eyes had never once ceased watching him with a kind of anxious and devouring pain in them. She was both drawn and beaten back. Binovitch advanced on tiptoe. No doubt he still was acting, still pretending this mad nonsense that he worshipped Horus, the falcon-headed deity of forgotten days, and that Horus had failed him in his hour of need; but somehow there was just a hint of too much reality in the way he moved and looked. The girl, a little creature, with fluffy golden hair, opened her lips; her cigarette fell to the floor; she shrank back; she looked for a moment like some smaller, coloured bird trying to escape from a great pursuing hawk; she screamed. Binovitch, his arms wide, his bird-like face thrust forward, had swooped upon her. He leaped. Almost he caught her.

  No one could say exactly what happened. Play, become suddenly and unexpectedly too real, confuses the emotions. The change of key was swift. From fun to terror is a dislocating jolt upon the mind. Some one — it was Khilkoff, the brother — upset a chair; everybody spoke at once; everybody stood up. An unaccountable feeling of disaster was in the air, as with those drinkers’ quarrels that blaze out from nothing, and end in a pistol-shot and death, no one able to explain clearly how it came about. It was the silent, watching figure in the doorway who saved the situation. Before any one had noticed his approach, there he was among the group, laughing, talking, applauding — between Binovitch and Vera. He was vigorously patting his patient on the back, and his voice rose easily above the gen
eral clamour. He was a strong, quiet personality; even in his laughter there was authority. And his laughter now was the only sound in the room, as though by his mere presence peace and harmony were restored. Confidence came with him. The noise subsided; Vera was in her chair again. Khilkoff poured out a glass of wine for the great man.

  “The Czar!” said Plitzinger, sipping his champagne, while all stood up, delighted with his compliment and tact. “And to your opening night with the Russian ballet,” he added quickly a second toast, “or to your first performance at the Moscow Théâtre des Arts!” Smiling significantly, he glanced at Binovitch; he clinked glasses with him. Their arms were already linked, but it was Palazov who noticed that the doctor’s fingers seemed rather tight upon the creased black coat. All drank, looking with laughter, yet with a touch of respect, toward Binovitch, who stood there dwarfed beside the stalwart Austrian, and suddenly as meek and subdued as any mole. Apparently the abrupt change of key had taken his mind successfully off something else.

  “Of course— ‘The Fire-Bird,’” exclaimed the little man, mentioning the famous Russian ballet. “The very thing!” he exclaimed. “For us,” he added, looking with devouring eyes at Vera. He was greatly pleased. He began talking vociferously about dancing and the rationale of dancing. They told him he was an undiscovered master. He was delighted. He winked at Vera and touched her glass again with his. “We’ll make our début together,” he cried. “We’ll begin at Covent Garden, in London. I’ll design the dresses and the posters ‘The Hawk and the Dove!’ Magnifique! I in dark grey, and you in blue and gold! Ah, dancing, you know, is sacred. The little self is lost, absorbed. It is ecstasy, it is divine. And dancing in air — the passion of the birds and stars — ah! they are the movements of the gods. You know deity that way — by living it.”

  He went on and on. His entire being had shifted with a leap upon this new subject. The idea of realising divinity by dancing it absorbed him. The party discussed it with him as though nothing else existed in the world, all sitting now and talking eagerly together. Vera took the cigarette he offered her, lighting it from his own; their fingers touched; he was as harmless and normal as a retired diplomat in a drawing-room. But it was Plitzinger whose subtle manœuvring had accomplished the change so cleverly, and it was Plitzinger who presently suggested a game of billiards, and led him off, full now of a fresh enthusiasm for cannons, balls, and pockets, into another room. They departed arm in arm, laughing and talking together.

  Their departure, it seemed, made no great difference at first. Vera’s eyes watched him out of sight, then turned to listen to Baron Minski, who was describing with gusto how he caught wolves alive for coursing purposes. The speed and power of the wolf, he said, was impossible to realise; the force of their awful leap, the strength of their teeth, which could bite through metal stirrup-fastenings. He showed a scar on his arm and another on his lip. He was telling truth, and everybody listened with deep interest. The narrative lasted perhaps ten minutes or more, when Minski abruptly stopped. He had come to an end; he looked about him; he saw his glass, and emptied it. There was a general pause. Another subject did not at once present itself. Sighs were heard; several fidgeted; fresh cigarettes were lighted. But there was no sign of boredom, for where one or two Russians are gathered together there is always life. They produce gaiety and enthusiasm as wind produces waves. Like great children, they plunge whole-heartedly into whatever interest presents itself at the moment. There is a kind of uncouth gambolling in their way of taking life. It seems as if they are always fighting that deep, underlying, national sadness which creeps into their very blood.

  “Midnight!” then exclaimed Palazov, abruptly, looking at his watch; and the others fell instantly to talking about that watch, admiring it and asking questions. For the moment that very ordinary timepiece became the centre of observation. Palazov mentioned the price. “It never stops,” he said proudly, “not even under water.” He looked up at everybody, challenging admiration. And he told how, at a country house, he made a bet that he would swim to a certain island in the lake, and won the bet. He and a girl were the winners, but as it was a horse they had bet, he got nothing out of it for himself, giving the horse to her. It was a genuine grievance in him. One felt he could have cried as he spoke of it. “But the watch went all the time,” he said delightedly, holding the gun-metal object in his hand to show, “and I was twelve minutes in the water with my clothes on.”

  Yet this fragmentary talk was nothing but pretence. The sound of clicking billiard-balls was audible from the room at the end of the corridor. There was another pause. The pause, however, was intentional. It was not vacuity of mind or absence of ideas that caused it. There was another subject, an unfinished subject that each member of the group was still considering. Only no one cared to begin about it till at last, unable to resist the strain any longer, Palazov turned to Khilkoff, who was saying he would take a “whisky-soda,” as the champagne was too sweet, and whispered something beneath his breath; whereupon Khilkoff, forgetting his drink, glanced at his sister, shrugged his shoulders, and made a curious grimace. “He’s all right now” — his reply was just audible— “he’s with Plitzinger.” He cocked his head sidewise to indicate that the clicking of the billiard-balls still was going on.

  The subject was out: all turned their heads; voices hummed and buzzed; questions were asked and answered or half answered; eyebrows were raised, shoulders shrugged, hands spread out expressively. There came into the atmosphere a feeling of presentiment, of mystery, of things half understood; primitive, buried instinct stirred a little, the kind of racial dread of vague emotions that might gain the upper hand if encouraged. They shrank from looking something in the face, while yet this unwelcome influence drew closer round them all. They discussed Binovitch and his astonishing performance. Pretty little Vera listened with large and troubled eyes, though saying nothing. The Arab waiter had put out the lights in the corridor, and only a solitary cluster burned now above their heads, leaving their faces in shadow. In the distance the clicking of the billiard-balls still continued.

  “It was not play; it was real,” exclaimed Minski vehemently. “I can catch wolves,” he blurted; “but birds — ugh! — and human birds!” He was half inarticulate. He had witnessed something he could not understand, and it had touched instinctive terror in him. “It was the way he leaped that put the wolf first into my mind, only it was not a wolf at all.” The others agreed and disagreed. “It was play at first, but it was reality at the end,” another whispered; “and it was no animal he mimicked, but a bird, and a bird of prey at that!”

  Vera thrilled. In the Russian woman hides that touch of savagery which loves to be caught, mastered, swept helplessly away, captured utterly and deliciously by the one strong enough to do it thoroughly. She left her chair and sat down beside an older woman in the party, who took her arm quietly at once. Her little face wore a perplexed expression, mournful, yet somehow wild. It was clear that Binovitch was not indifferent to her.

  “It’s become an idée fixe with him,” this older woman said. “The bird idea lives in his mind. He lives it in his imagination. Ever since that time at Edfu, when he pretended to worship the great stone falcons outside the temple — the Horus figures — he’s been full of it.” She stopped. The way Binovitch had behaved at Edfu was better left unmentioned at the moment, perhaps. A slight shiver ran round the listening group, each one waiting for some one else to focus their emotion, and so explain it by saying the convincing thing. Only no one ventured. Then Vera abruptly gave a little jump.

  “Hark!” she exclaimed, in a staccato whisper, speaking for the first time. She sat bolt upright. She was listening. “Hark!” she repeated. “There it is again, but nearer than before. It’s coming closer. I hear it.” She trembled. Her voice, her manner, above all her great staring eyes, startled everybody. No one spoke for several seconds; all listened. The clicking of the billiard-balls had ceased. The halls and corridors lay in darkness, and gloom was over the bi
g hotel. Everybody was in bed.

  “Hear what?” asked the older woman soothingly, yet with a perceptible quaver in her voice, too. She was aware that the girl’s arm shook upon her own.

  “Do you not hear it, too?” the girl whispered.

  All listened without speaking. All watched her paling face. Something wonderful, yet half terrible, seemed in the air about them. There was a dull murmur, audible, faint, remote, its direction hard to tell. It had come suddenly from nowhere. They shivered. That strange racial thrill again passed into the group, unwelcome, unexplained. It was aboriginal; it belonged to the unconscious primitive mind, half childish, half terrifying.

  “What do you hear?” her brother asked angrily — the irritable anger of nervous fear.

  “When he came at me,” she answered very low, “I heard it first. I hear it now again. Listen! He’s coming.”

  And at that minute, out of the dark mouth of the corridor, emerged two human figures, Plitzinger and Binovitch. Their game was over: they were going up to bed. They passed the open door of the card-room. But Binovitch was being half dragged, half restrained, for he was apparently attempting to run down the passage with flying, dancing leaps. He bounded. It was like a huge bird trying to rise for flight, while his companion kept him down by force upon the earth. As they entered the strip of light, Plitzinger changed his own position, placing himself swiftly between his companion and the group in the dark corner of the room. He hurried Binovitch along as though he sheltered him from view. They passed into the shadows down the passage. They disappeared. And every one looked significantly, questioningly, at his neighbour, though at first saying no word. It seemed that a curious disturbance of the air had followed them audibly.